Impeckable is Welsh rock band Budgie's seventh album, released in February 1978 on A&M Records. Guitarist Tony Bourge left the band after the album was released…

Julio Jose Iglesias de la Cueva (born 23 September 1943), better known as Julio Iglesias (Spanish pronunciation: [?xuljo i??lesjas]), is a Spanish singer and songwriter who has been awarded with the Guinness Record thrice. In 1983, he was the most recorded artist in more languages in the world, and in 2013 as the Latin artist who has sold the most records in history…

Spanish band Bloque's first album was quite a solid record in terms of guitar-dominated melodic rock but not to be compared with their second one for example exhibiting much more resemblance with 70's Italian progressive rock acts like PFM. First track "Undecimo poder" could be described more or less as plain energetic guitar-dominated hard rock though having as well some nice Hammond organ sound. "Albelardo y Eloisa" is mostly kept in a mellow and romantic vein with atmospheric keys and a blues-tinged guitar before it starts rocking off towards its end. One could think of some earlier, more blues-inspired Floyd work as a reference point. "Salvacion por la musica" is a rather short instrumental piece mainly dominated by keyboard playing reminiscent of some of Emerson's solo works…

Cannibalism 1 (1978). Given the cohesion of the group's studio albums, Can's songs work surprisingly well in compilation form, as evidenced by Cannibalism 1, a collection of tracks taken from the first six years of the group's existence. Covering ground from 1969's Monster Movie to 1974's Soon Over Babaluma (although nothing from 1973's superb Future Days makes the cut), the sampler compiles many of the group's high points (including "Father Cannot Yell," "She Brings the Rain," "Mushroom," and "Soup"), and offers a thorough overview of Can's eclectic musical history to date, even if the abridged versions of cuts like "Mother Sky," "Aumgn," and "Halleluhwah" don't measure up to the full-length renditions featured on the original albums…

This was a group of session musicians assembled by a composer to record a single LP. Composer and keyboardist Carlo Barbiera dedicated a full album to the life and works of sculptor Luciano Ceschia (1926-1991), both coming from near Udine, Friuli Venezia Giulia, in the north-east of Italy. This rare album is a rather original example of experimental electro-acoustic progressive style, mainly based on synth effects and acoustic guitars and often reminding some of Battiato's early works. Despite the presence of five singers in the line-up, the vocal parts are short, spoken or recited rather than sung. 19 tracks (+ bonus tracks) are listed on the cover, but these are connected to form two long suites. All in all an interesting album for the adventurous listeners in search of something different.

Giant for a Day! is the tenth album by British progressive rock band Gentle Giant which was released in 1978. The band's previous use of counterpoint and medieval-themed arrangements was not present on this recording. This album features a pop rock sensibility, instead of their usual progressive rock sound…

Powerage was a first in the sense that it debuted bassist Cliff Williams, but it really is more of a final curtain to the band's early years. It would be the last produced by Vanda & Young, the legendary Australian production team who also helmed hits by the Easybeats, and it was the last before AC/DC became superstars…

Each of Jade Warrior's Island albums was a revelation, both musically and thematically. Floating World's exploration of the Japanese philosophy of Ukiyo, Waves' oceanic voyage, the ninth century Buddhist monk whose story is told on the B-side of Kites (and who takes airy flight across the flip) – all were extraordinary expeditions into the Orient…

The second and best of this legendary band's two albums, comprised of the duo of Hector Zazou & Joseph Racaille + guests, who use keboards, clarinets, guitars, violin and much more. This record was utterly out of step with the prevailing trends in 1978, but in retropect, this turned out to be an early classic of 70's neo-classical progressive rock but in a completely different way than Art Zoyd/ Univers Zero. Where AZ/UZ used Bartok/Stravinsky, ZNR used Satie/Debussy as their classical role models. This made for a beautiful and quite distinctly French and 'odd' album.

Album entitled "Super Gasoline Blues" by guitarist Roberto Ciotti recorded at the Orthophonic studio in Rome in 1978 for the Cramps label. The line-up that accompanied the Italian bluesman was made up of: Enzo Pietroapoli (double bass), Giampaolo Ascolese (drums) and Susanna De Vivo (voice).
Roberto Ciotti (1953-2013) was an Italian blues musician, composer and guitarist. Ciotti was born in Rome. He began playing the guitar at the age of 12. From 1970 to 1972 he was a member of the jazz band Blue Morning, then he started a career as a sideman, collaborating with Chet Baker, Francesco De Gregori and Edoardo Bennato, among others.

During the 1950s, Tal Farlow recorded a wonderful series of albums that established him as one of the premiere bop/cool guitarists. He recorded less frequently in the '60s, '70s, and '80s, preferring to stay out of the limelight. Autumn Leaves consists of two discs Farlow recorded for Concord: Tal Farlow '78 and The Legendary Tal Farlow (1985). When a great player like Farlow revives his career 20 years later, it seems customary, though a bit impolite, to ask: can he play as well as he once could? The easy answer is yes, he plays with the same finesse and speed (though it's hard to tell: his fingers move extremely fast), but this should be qualified by noting that his overall approach has mellowed during the interval. On the first disc Farlow is joined by bassist Gary Mazzaroppi and drummer Tom Sayek for a straight-ahead trio set…

AC/DC was fast becoming one of rock's top live acts by the late '70s. Few others could match the band's electrifying live performances: Angus Young's never-ending energy and wise-ass antics, Bon Scott's whiskey-soaked vocals, and the rest of the band's penchant for nailing simple, yet extremely effective and memorable, riffs and grooves…

Happy the Man's masterpiece takes their unique style to new levels of achievement, at points reminiscent of a blend between the complexity and occasional medieval embellishments of Gentle Giant and the soothing, melodic beauty of Camel circa The Snow Goose. On each of the album's instrumentals (and on the sole vocal track of the release, Wind Up Doll Day Wind) the band's capacity to evoke an atmosphere and remain accessible and catchy even when presenting their most challenging material constantly impresses.

The most successful Hungarian rock band in history, Omega is one of the rare bands to have been known outside in his country. The legend has it that as albums were released in other countries it became necessary to brake the language barrier. Their music is a combination of Eastern European prog with a bit of symphonic and a bit of psyche prog. The result is a dark orchestrated sound combined with extended improvisation. Their discography actually starts in the early 60's, and goes in till today in a more modern register.